The “Œdipus” was followed, in 1808, by the “Seated Bather” (now in the Louvre); in 1811, by “Jupiter and Thétis” (now at the Museum of Aix), a curiously Flaxman-like design; in 1812, by the “Dream of Ossian” (now at Montauban); and in 1814, by a scene of real life, “The Pope officiating among the Cardinals in the Sistine Chapel” (now in the Louvre). In this marvellous picture the artist has for once avoided the painful task of invention which he habitually imposed upon himself. He abandoned himself completely to the imperious suggestion of what was actually before his eyes. The truth, life, and richness of colour and tone of this little picture have led some of his recent admirers to speak of it as the most complete and perfectly balanced of all the artist’s works. The “Grande Odalisque,” exhibited at the Salon of 1819, but painted in 1814, brought to a close for the time the admirable series of nude female figures which the artist had begun during his first years in Rome. His wonderful sketches of the “Venus Anadyomene” and the “Source” had already been painted, but the canvases remained unfinished in his studio, the first till 1848, the second till 1858. His love of female beauty reveals itself again in the principal figure of the picture he sent to the Salon in 1819. This was the “Roger delivering Angelica,” a scene borrowed from the tenth song of Ariosto’s “Roland Furieux.” The picture is now in the Louvre. The young knight, mounted on a hippogriff, pierces with his lance a marine monster who was about to devour the beautiful young woman who is chained to the rocks. The figure of the young knight, his curious steed, and the strange monster which is being killed, provoked the anger and ridicule of the Academic party. In its quaint details the influence of Perugino and of the earlier Florentine and Tuscan painters was clearly noticeable. This was one of the first signs in nineteenth-century art of the Gothic revival and of that stream of tendency which came afterwards to be described as pre-Raphaelitism. The epithet “Gothic” was freely used as a term of reproach against Ingres’ picture. But the lovely figure of Angelica was a distinct creation of the painter’s own genius. In the “Francesca da Rimini” of the same year (now in the Museum of Angers) the same pre-Raphaelite tendencies are even more strongly pronounced. The figures of the two lovers might easily have been designed by Rossetti or Madox Brown. * * * * *